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Essay of civil war in russia
Introduction of essay russian civil war
Introduction of essay russian civil war
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Shostakovich was born in St Petersburg in 1906. His mother who was a pianist guided him through his early music experiences. By the time Shostakovich wrote the Preludes Op34, the Soviet society had experienced much distress and disorder. Going through the repression of civil war and during the period of cultural revolution where all kinds of arts are under the ideological barrier of socialistic realism, majority of the music was written with a controlled, nationalistic flavor. Bach and Chopin are major influences in this prelude.
Shostakovich’s Preludes Op 34 was a combination of both beauty and destruction. The use of derailment is Shostakovich’s style. He used non harmony notes and altered chords yet the music remains lyrical and beautiful.
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It requires dexterity of the fingers for clean articulation.
Prelude no 19, with a song like melody and the style of accompaniment suggests a Barcarolle, typical of songs of the gondoliers in Venice Italy. The harmonic accompaniment resembles the rowing of the boat through the waves of the water. This melody uses chromatic modulations, proficiently disguised that is it hardly apparent to the ears. He also used unusual articulation and syncopation. This prelude displays Shostakovich’s polyphonic approach. The creative work by Shostakovich is made up of both exotic melodic patterns, as well as a conservative western
Prior to the competition, he had had a far greater success as a composer with the First Symphony (1924-25), which quickly achieved worldwide recognition. The symphony was influenced by composers as diverse as Tchaikovsky, Paul Hindemith, and Sergey Prokofiev. The cultural climate in the Soviet Union was, compared to the Soviet Union at its peak, free at the time. Even the music of Igor Stravinsky and Alban Berg, then in the avant-garde, was played. Bela Bartok and Paul Hindemith visited Russia to perform their own works, and Shostakovich toyed openly with these novelties. His first opera, The Nose, based on the satiric Nikolay Gogol story, displayed a thorough understanding of what was popular in Western music combined with his "dry" humor. Not surprisingly, Shostakovich's undoubtedly finer second opera, Lady Macbeth of the Mtsensk District (later renamed Katerina Izmaylova), marked a stylistic retreat. However, this new Shostakovich was too avant-garde for Stalin.
Mozart’s use of melodic contour and repetitive rhythmic motives make this piece feel very connected throughout. He begins with a two eighth note followed by two quarter note pattern. This pattern is repeated twice more until finally at measure four a new melodic and rhythmic motive is introduced. At measure four a retardation occurs using a half note to delay the resolution to the quarter note, drawing out the resolution as much as possible to create a sense of relief upon arrival. This pattern of three measures of motive “A” followed by...
It has a very nice combination of the woodwind and violin. The music goes slow for first three minutes and suddenly it goes fast with the sound of violin and slows down again with the melodious sound of the flute and violin and repeats again giving the feeling of nature and after eleven minutes it is in very high notes. And again, from the 14 minutes, begins the second movement with the melodious sound of violin followed by other instruments. This part is very sad and attractive part of the orchestra too. It feels tragedy and sad music. The music is slow and in low notes. The flute in the fourteen minute is so attaching and alluring. I felt like listening to it again and again. The third movement then begins from twenty-three minute which also feels sad music. It reminds me of the good old childhood days. After the thirty minutes comes the most powerful and weighty part that is the fourth movement. It ends comfortably in F major. Among the four symphonies by Johannes Brahms, I liked the Symphony no.3. And I would like to thank Mr. Madere for giving us with such assignments which help us relax and get free from our
Each time I read The Awakening, I am drawn to the passage on page 69 where Edna and Madame Ratignolle argue about “the essential” and “the unessential.” Edna tries to explain, “I would give up the unessential; I would give my money, I would give my life for my children; but I wouldn’t give myself.” What most would see as essential—money (you need it for food, clothing, shelter, etc) and life—Edna sees as “unessential.” Edna is speaking of more than that which one needs for physical survival; she would not hesitate to give her life to save the life of one of her children. On the other hand, Edna’s being, her “self,” is something quite different from her physical form.
Seyersted, Per, and Emily Toth, eds. A Kate Chopin Miscellany. Natchitoches: Northwestern State University Press, 1979.
...ers and the audience. The dramatic nature of this piece alone is something to be reckoned with as it is extremely passionate. The symphony is presented in 4 movements as is common and begins with a Poco Sostenuto- Vivace, followed by a Allegretto movement, Presto movement, and finally ends on an Allegro con brio movement. the central theme of this piece is introduced in the first movement by a flute playing in tripple meter continuously ascending up the scales rising in dynamic contrast, continuing to grow into a louder and more stark contrast between it’s highs and lows. Consistently dance like, the piece is celebratory of its roots buried in historical Austrian music that has been present in the culture for years. The accomplishments of the soldiers for which the piece was composed for are easily told of simply by the energy and power present throughout the piece.
These works were written at a time when Chopin’s relationship with George Sand was coming to an end. These personal troubles, however, did not hamper his musical genius (Lederer 69). However, perhaps this turmoil is reflected in the ungraspable opening sections of the first movement and the tumultuousness of the final movement. The sonata-allegro from was fathered by Haydn, mastered by Mozart, and experimented with by Beethoven.
Chopin opens his Waltz on a troubled, searching theme. Full of hesitancies, sudden rushes, and wavering chromaticism, the pensive tune features rhythmic and melodic fragility. With regards to rhythm, unpredictable phrasing creates rhythmic dissonance with the steady left hand waltz pattern and forces the dancers into a posture of searching in order to stay in step with the meter. With regards to melody, the introspective tune centers around a restless cycle of stressed and unstressed pairs of measures, similar to a poem in iambic octameter. During the first and more stressed measure in each pair, the melody scrambles impulsively through several chromatic notes in search of a note on which to land, almost like a game of musical chairs. Then, during the second and less stressed measure in each pair, the melody stretches out onto one or two sustained notes, almost like a sigh. As the sixteen measure melody progresses, the stressed measures become increasingly more desperate and fling the melody further and harder until finally in a climax the melody jumps 17 half steps only to...
...re was very interesting transitions between the variation, for example, string section plays the variation from low to high, when they reach the highest note, the brass family takes over and continue with the scale and make it more higher. Tremolo style was used in this piece, which is a quick ups and downs stroke mode. The music were very soothing and attracted the audience. Lastly, they end the piece with the same variations that was played at the beginning.
The preludes which Bach composed were unique to his name, and contained a number of complex and awe-inspiring sections. His preludes were usually composed using a single rhythm and some sort of arpeggio. Such preludes are sometimes tiring and exhausting on the listener's ear, because they seem unending and ruthlessly written. Bach's consistent use of a busy but regular rhythm creates a driving force throughout the piece, and is known as motor rhythm. While the general public may rece...
As this passage commences, Chopin, through Edna’s thoughts, describes the seemingly endless sea that presents itself before her. Edna, through personification, shows the intimacy of her relationship with both nature and the sea. This large, “[…] never ceasing […]” (Chopin 139) body of water has entranced and enthralled Edna to the point where she is now beginning to see this natural element that amazes her so much as the only option left to her in life. Chopin reveals these intentions to the reader by describing the sea as “[…] inviting the soul to wander in the abyss of solitude” (Chopin 139). The word abyss in itself leaves the reader the impression of a mysterious place in which one might not return from; and it is later implied that Edna accepts this sensuous invitation from the sea.
Next, was the longest movement, Molto vivace. Dominated by D minor, this movement resembled the introduction of the opening theme in the first movement but with more lightheartedness. Also called a scherzo because of its “dancelike” theme, this section utilized the Flute, Oboe, Clarinet, Bassoon, French Horn, Trumpet, Trombone, Timpani, and Strings. I also noticed a downbeat around every three beats throughout the fast tempo in this section.
The 24 Préludes (Op 2) are often compared to the Préludes of J.S Bach's Well Tempered Clavier and although both sets are similar in many ways, Chopin's are not meant as introductory pieces as Bach's, which are designed to lead into fugues, as they stand strongly on their own as poetic miniature piano pieces.
Tchaikovsky is one of the most popular of all composers. The reasons are several and understandable. His music is extremely tuneful, opulently and colourfully scored, and filled with emotional passion. Undoubtedly the emotional temperature of the music reflected the composer's nature. He was afflicted by both repressed homosexuality and by the tendency to extreme fluctuations between ecstasy and depression. Tchaikovsky was neurotic and deeply sensitive, and his life was often painful, but through the agony shone a genius that created some of the most beautiful of all romantic melodies. With his rich gifts for melody and special flair for writing memorable dance tunes, with his ready response to the atmosphere of a theatrical situation and his masterly orchestration, Tchaikovsky was ideally equipped as a ballet composer. His delightful fairy-tale ballets, Swan Lake, The Sleeping Beauty and The Nutcracker are performed more than any other ballets. Swan Lake, Tchaikovsky's first ballet, was commissioned by the Imperial Theatres in Moscow in 1875. He used some music from a little domestic ballet of the same title, composed for his sister Alexandra's children in 1871.
During the hard and cruel era of Stalinism, Shostakovich had the courage to express the desolation of his people by method of remarkable dramatic feeling; hence, his music became a moral support for all who were persecuted. Sofia Gubaidulina reflected, "The circumstances he lived under were unbearably cruel, more than anyone should have to endure." With Stravinsky and Prokofiev, Shostakovich embodies the culmination of 20th Century Russian music, but unlike his contemporaries, he is unique in having composed his entire opus within the framework of Soviet aesthetics. When forced onto the defensive, he did not dispute; but instead overcame the limitations of socialist realism and infused throughout his works his belief in the final victory of justice, which transformed his music into a powerful stimulus to the spirit of resistance and freedom.